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\n“Lola<\/i> (60, Jacques Demy) came as a surprise and a relief: at last she was allowed to giggle, flutter, to be animated, and to breathe a cryptic song into the camera — “C’est moi. C’est Lola.” The most magical of the New Wave films, Lola<\/i> freed Princess Anouk and allowed her the flighty, romantic self-absorption of a chambermaid. However, Anouk’s newfound freedom did not result in an organized career, although she may not have cared too much, then or now. It must be said that serious roles have sometimes found her wanting. Perhaps so handsome and commanding a woman is really frivolous: certainly Lola<\/i> has that effortless beauty that comes from relaxation.”<\/p>\n
From David Thomson’s The New Biographical Dictionary of Film: Expanded and Updated<\/a> \n